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Deadhead Cannabis Show »
Winterland Arena, 51 years ago, second set highlights: Mississippi Half-Step and Beyond

8d ago 1:34:11

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Music News: Pink Floyd and Joni Mitchell

In this episode of the Deadhead Cannabis Show, Larry Mishkin reflects on the intersection of music and cannabis in the wake of the recent elections. He delves into the Grateful Dead's legacy, highlighting a notable performance from 1973, and explores the lyrical depth of 'To Lay Me Down.' The conversation also touches on music news, including Pink Floyd's 'Dark Side of the Moon' and Joni Mitchell's recent birthday. The episode concludes with a discussion on recent research indicating that cannabis may serve as a substitute for more dangerous substances. This conversation explores the complex relationship between cannabis use and substance consumption among young adults, the implications of Florida's failed marijuana legalization initiative, and the potential of cannabis as a harm reduction tool for opioid use. It also highlights popular cannabis strains and their effects, alongside a cultural reflection on the Grateful Dead's music.

Chapters

00:00 Post-Election Reflections: Music and Cannabis

08:29 The Grateful Dead's Musical Legacy

14:48 Exploring the Lyrics: To Lay Me Down

21:59 Music News: Pink Floyd and Joni Mitchell

37:06 Weather Report Suite: A Musical Journey

43:10 Second Set Highlights: Mississippi Half-Step and Beyond

49:36 Marijuana Research: Substitution Effects

51:24 Cannabis Use Among Young Adults

56:13 Florida's Marijuana Legalization Initiative

01:05:01 Cannabis as a Tool for Opioid Harm Reduction

01:11:10 Strains of the Week and Cannabis Culture

Larry's Notes:

Grateful Dead

November 11, 1973 (51 years ago)

Winterland Arena

San Francisco, CA

Grateful Dead Live at Winterland Arena on 1973-11-11 : Free Borrow & Streaming : Internet Archive

Happy Veteran’s Day

A very famous show from a very famous year. Many feel 1973 was the peak of the band’s post psychedelic era. Certainly right up there with 1977 as top years for the band, even by November they were still in full stride during a three night run at Winterland, this being the third and final night of the run. In 2008 the Dead released the box set: “Winterland 1973: The complete recordings” featuring shows from Nov. 9, 10 and 11, 1973.

This was the Dead’s second “complete recordings” release featuring all of the nights of a single run. The first was “Fillmore West, 1969, the Complete Recordings” from Feb. 27, 28 and March 1 and 2 (IMHO the best collection of live music ever released by the band). The band later released a follow up, Winterland 1977: The Complete Recordings a three night run June 7, 8 and 9, 1977 that is also an outstanding box set.

Today’s show has a 16 song first set, a six song second set and a three song encore, a true rarity for a Dead show of any era (other than NYE shows). The second set consists of ½ Step, Big River, Dark Star with MLBJ, Eyes of the World, China Doll and Sugar Magnolia and is as well played as any set ever played by the band. They were on fire for these three days. A great collection of music and killer three night run for those lucky enough to have snagged a ticket for any or all of the nights.

Patrick Carr wrote in the NY Times that: “The Dead had learned how to conceive and perform a music which often induced something closely akin to the psychedelic experience; they were and are experts in the art and science of showing people another world, or a temporary altering (raising) of world consciousness. It sounds pseudomystical pretentious perhaps, but the fact is that it happens and it is intentional.”

INTRO: Promised Land (show opener into Bertha/Greatest Story/Sugaree/Black Throated Wind)

Track #1

0 – 2:10

"Promised Land" is a song lyric written by Chuck Berry to the melody of "Wabash Cannonball", an American folk song. The song was first recorded in this version by Berry in 1964 for his album St. Louis to Liverpool. Released in December 1964, it was Berry's fourth single issued following his prison term for a Mann Act conviction. The record peaked at #41 in the Billboard charts on January 16, 1965.

Berry wrote the song while in prison, and borrowed an atlas from the prison library to plot the itinerary. In the lyrics, the singer (who refers to himself as "the poor boy") tells of his journey from Norfolk, Virginia, to the "Promised Land", Los Angeles, California, mentioning various cities in Southern states that he passes through on his journey. Describing himself as a "poor boy," the protagonist boards a Greyhound bus in Norfolk, Virginia that passes Raleigh, N.C., stops in Charlotte, North Carolina, and bypasses Rock Hill, South Carolina. The bus rolls out of Atlanta but breaks down, leaving him stranded in downtown Birmingham, Alabama. He then takes a train "across Mississippi clean" to New Orleans. From there, he goes to Houston, where "the people there who care a bit about me" buy him a silk suit, luggage and a plane ticket to Los Angeles. Upon landing in Los Angeles, he calls Norfolk, Virginia ("Tidewater four, ten-oh-nine") to tell the folks back home he made it to the "promised land." The lyric: "Swing low, sweet chariot, come down easy/Taxi to the terminal zone" refers to the gospel lyric: "Swing low, sweet Chariot, coming for to carry me Home" since both refer to a common destination, "The Promised Land," which in this case is California, reportedly a heaven on earth.

Billboard called the song a "true blue Berry rocker with plenty of get up and go," adding that "rinky piano and wailing Berry electric guitar fills all in neatly."[2]Cash Box described it as "a 'pull-out-all-the-stops' rocker that Chuck pounds out solid sales authority" and "a real mover that should head out for hit territory in no time flat."[3] In 2021, it was listed at No. 342 on Rolling Stone's "Top 500 Greatest Songs of All Time".

Apparently played by the Warlocks and the Grateful Dead in their earliest days, Bob Weir started playing this with the Dead in 1971, and it remained a regular right through to the band’s last show ever in 1995.

Among those deeply touched by Chuck’s genius were Jerry Garcia and the Grateful Dead. They often paid homage to Chuck by weaving his songs into their performances, breathing new life into his timeless melodies. "Promised Land," with its relentless drive, became an anthem of journey and aspiration. Their electrifying renditions of "Johnny B. Goode" were not mere covers but jubilant celebrations of a narrative that resonated with the dreamer in all of us.

The Grateful Dead's performances of "Around and Around" echoed Chuck's mastery of capturing life's cyclical rhythms—a dance of beginnings and endings, joy and sorrow. And when they took on "Run Rudolph Run," they infused the festive classic with their own psychedelic flair, bridging the gap between tradition and innovation.

A moment etched in musical history was when Chuck Berry shared the stage with the Grateful Dead during their induction into the Rock and Roll Hall of Fame in 1994. The air was thick with reverence and electricity—a meeting of titans where the past, present, and future of rock converged in harmonious resonance. Again, in May 1995, Chuck opened for the Grateful Dead in Portland, Oregon. It was a night where legends collided, and the music swirled like a tempest, leaving a lasting impression on all who were fortunate enough to witness it.

This version really rocks out. I especially love Keith’s piano which is featured prominently in this clip.

Played: 430 times

First: May 28, 1971 at Winterland Arena, San Francisco, CA, USA

Last: July 9, 1995 at Soldier Field, Chicago, IL, USA

SHOW No. 1: To Lay Me Down (out of Black Throated Wind/into El Paso/Ramble On Rose/Me and Bobby McGee

Track #6

2:21 – 4:20

David Dodd: “To Lay Me Down” is one of the magical trio of lyrics composed in a single afternoon in 1970 in London, “over a half-bottle of retsina,” according to Robert Hunter. The other two were “Ripple” and “Brokedown Palace.”

Well, first—wouldn’t we all like to have a day like that!

And, second—what unites these three lyrics, aside from the fact that they were all written on the same day?

Hunter wrote, in his foreword to The Complete Annotated Grateful Dead Lyrics:

”And I wrote reams of bad songs, bitching about everything under the sun, which I kept to myself: Cast not thy swines before pearls. And once in a while something would sort of pop out of nowhere. The sunny London afternoon I wrote ‘Brokedown Palace,’ ‘To Lay Me Down,’ and ‘Ripple,’ all keepers, was in no way typical, but it remains in my mind as the personal quintessence of the union between writer and Muse, a promising past and bright future prospects melding into one great glowing apocatastasis.”

“‘To Lay me Down’ was written a while before the others [on the Garcia album], on the same day as the lyrics to ‘Brokedown Palace’ and ‘Ripple’—the second day of my first visit to England. I found myself left alone in Alan Trists’s flat on Devonshire Terrace in West Kensington, with a supply of very nice thick linen paper, sun shining brightly through the window, a bottle of Greek Retsina wine at my elbow. The songs flowed like molten gold onto the page and stand as written. The images for ‘To Lay Me Down’ were inspired at Hampstead Heath (the original title to the song) the day before—lying on the grass and clover on a day of swallowtailed clouds, across from Jack Straw’s Castle [a pub, now closed and converted into flats--dd], reunited with the girlfriend of my youth, after a long separation.”

Garcia’s setting for the words is, like his music for those other two songs, perfect. The three-quarter time (notated as having a nine-eight feel), coupled with the gospel style of the melody and chords, makes for a dreamy, beauty-soaked song. I heard it on the radio today (yes, on the radio, yes, today—and no, not on a Grateful Dead Hour, but just in the course of regular programming), and it struck me that it was a gorgeous vehicle for Garcia’s voice. By which I mean: for that strongly emotive, sweet but not sappy, rough but not unschooled instrument that was Garcia’s alone.

I have started to think that my usual recitation of where a song was first played, where it was last played, and where it was recorded by the band borders on pointless. All that info is readily available. What’s interesting about the performance history of “To Lay Me Down” is that it was dropped from the rotation for more than 200 shows three times, and that its final performance, in 1992, came 125 shows after the penultimate one. The reappearance of the song, in the 1980 acoustic shows, came nearly six years after the previous performances in 1974. “Ripple” had a similar pattern, reappearing in those 1980 acoustic sets after 550 performances, or nearly ten years. Of the magical trio from that day of molten gold in West Kensington, “Brokedown Palace” had the most solid place in the Dead’s performance rotation, with only one huge gap in its appearances—165 shows between 1977 and 1979.

So, in terms of story, what can be discerned? The short version, for me: even if it’s just for a day, even if it’s just once more, even if it’s just one last time—it’s worth it. It’s golden. It’s home.

This version is really great to listen to. Jerry’s voice is still so young and strong. And the group singing works really well. Jerry’s also kills it with his lead guitar jamming.

Released on “Garcia” in 1972

Played: 64 times

First: July 30, 1970 at The Matrix, San Francisco, CA, USA

Last: June 28, 1992 at Deer Creek Music Center, Noblesville, IN, USA

MUSIC NEWS:

Music Intro: Brain Damage

Pink Floyd

Pink Floyd - Brain Damage (2023 Remaster)

0:00 – 1:47

"Brain Damage" is the ninth track[nb 1] from English rock band Pink Floyd's 1973 album The Dark Side of the Moon.[2][3] It was sung on record by Roger Waters (with harmonies by David Gilmour), who would continue to sing it on his solo tours. Gilmour sang the lead vocal when Pink Floyd performed it live on their 1994 tour (as can be heard on Pulse). The band originally called this track "Lunatic" during live performances and recording sessions. "Brain Damage" was released as a digital single on 19 January 2023 to promote The Dark Side of the Moon 50th Anniversary box set.[4]

The uncredited manic laughter is that of Pink Floyd's then-road manager, Peter Watts.

The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973, by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.

The Dark Side of the Moon is among the most critically acclaimed albums and often features in professional listings of the greatest of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14x platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 990 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band's best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history.[3] In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999.

David Gilmour Addresses Synchronicity Theory Between ‘The Dark Side of the Moon’ and ‘Wizard of Oz’

On Thursday, November 7, 2024, Pink Floyd’s David Gilmour appeared on The Tonight Show Starring Jimmy Fallon amid his extensive run at New York’s Madison Square Garden, where he is supporting his latest solo release, Luck and Strange. During the music industry legend’s stop by the late-night talk show, he spoke with the program’s host, who questioned the theory of synchronicity between TheDark Side of the Moon and The Wizard of Oz, commonly referred to as the Dark Side of the Rainbow.

“You said that you think it’s your best work since Dark Side of the Moon,” Fallon questioned at the top of the segment, comparing Gilmour’s comments regarding his latest release, and the Pink Floyd classic. “When we finished Dark Side, there was a lot of crossfades and stuff between all the tracks. They had all to be done separately and then they all have to be edited in the old days before Pro Tools. When we finally finished, we sat down in the control room at Abbey Road and listened to it all the way through. And, wow. I–I guess all of us–have the feeling that it was something quite amazing–that we got it, and at the same point on this album, I had a very similar feeling, which is why I said that.”

Fallon stewed on Luck and Strange during a series of follow-up questions that assisted in painting a portrait of familial involvement during the making of Gilmour’s 2024 release–harnessing the conversation to the artist’s preferred homebred approach before they segued into the realm of the Emerald City. Fallon landed on the topic of Oz during a bit aimed at busting rumors that have populated throughout the musician’s 60-year tenure in the spotlight.

“The Pink Floyd album, Dark Side of the Moon, was written to synchronize with the movie Wizard of Oz,” Fallon suggested. Prompting Gilmour’s humor-tinged response, “Well, of course it was.” Fallon threw his hands up in response, acting on the comedic angle, before the musician clarified, “No, no. We listened to it, Polly and I, years ago–” Fallon stopped the artist to ask, “There’s no planning that out?” Gilmour continued, “No. No, I mean, I only heard about it years later. Somebody said you put the needle on–vinyl that is– and on the third–you know you got the film running somehow–and on the third roar of the MGM lion, you put the needle on for the beginning of Dark Side, and there’s these strange synchronicities that happen.”

Fallon asked if Gilmour had ever tested the theory, to which he exclaimed, “Yeah!” He went on to admit, “And there are these strange coincidences–I’ll call them coincidences.”

Joni Mitchell turns 81 - Joni Mitchell was born on Nov. 7th in 1943, making her 81 this past Thursday. Mitchell began her career in small nightclubs in Saskatoon, Saskatchewan, Canada, and grew to become one of the most influential singer-songwriters in modern music history. Rising to fame during the 1960s, Mitchell became a key narrator in the folk music movement, alongside others like Bob Dylan. Over the decades, she has released 19 studio albums, including the seminal “Blue,” which was rated the third best album ever made in Rolling Stone's 2020 list of the "500 Greatest Albums of All Time.” In 2023, Joni Mitchell at Newport was released, a live album of her 2022 performance at the Newport Folk Festival. More recently she was the featured performer at the Joni Jam at the Gorge in George, WA in June, 2023

3. Dan “Lebo” Lebowitz to Celebrate 50th Birthday at Sweetwater Music Hall with Members of ALO, Tea Leaf Green and More

Sweetwater Music Hall (in Mill Valley, CA) has announced details pertaining to Dan “Lebo” Lebowitz’s 50th Birthday Bash. The event is slated to take place on Saturday, November 23, 2024, and functions as a celebratory occasion to honor the jam stalwart and beloved member of the Bay Area music scene’s five decade ride.

The six-string virtuoso, known for his work with Animal Liberation Orchestra (ALO), Phil Lesh & Friends, and his own self-titled Friends project, has tapped an all-star group of regional talent to assist during the live show. Appearing on the birthday lineup, in addition to the bandleader are Vicki Randle (percussion, vocals; The Tonight Show Band), Steve Adams (bass; ALO), Trevor Garrod (keys; Tea Leaf Green) and Scott Rager (drums; Tea Leaf Green).

“Possessing a signature tone, the vehicle for his fluid, buttery sound is a flat top acoustic guitar that he has personally sliced and diced into an electric flat top, with a vintage style humbucker pickup. Inherently committed to an improvisational approach, Lebo embodies the realm of melodic and soulful sounds,” the press release includes, drawing on the unique factors which have made Lebo a standout amongst his musical contemporaries.

As an added distinction, and play into the birthday angle of event’s surprise and celebration, special guest appearances are slated to occur, as referenced via press release and the artist’s post on Instagram, where he noted additional inclusions as TBA.

SHOW No. 2: Weather Report Suite Prelude (out of China >Rider/Me & My Uncle/Loose Lucy

Track #14

3:10 – end

INTO

Weather Report Suite Part I (out of WRS Prelude/ into WRS Part II (Let It Grow)/Set break - 16 songs

Track #15

0:00 – 1:03

David Dodd: This week, by request, we’re looking at “Weather Report Suite,” (Prelude, Part 1, and Part 2). For a short time, the three pieces that comprise the Suite were played as such, but that was relatively short-lived by Grateful Dead standards.

The Prelude debuted in November 1972, originally as a separate piece from its eventual companions. The Dead played it, according to DeadBase, four more times in the spring of 1973 before it was first matched up with Weather Report Suite Parts 1 & 2, in September of that year. It was played regularly through October of 1974, and then dropped from the repertoire. The instrumental “Prelude,” composed by Weir, sets the stage for the two pieces to follow. I think it’s one of the most beautiful little pieces of music I know—I have never once skipped through it over years of listening. I just let it wash over me and know that its simplicity and beauty are preparing me for the melancholy of Part 1, and the sometimes epic grandeur of Part 2.

Part 1 is a song co-written with Eric Andersen, a well-known singer-songwriter who wrote the classic “Thirsty Boots.” He was on the Festival Express Tour (of “Might As Well” fame) across Canada along with the Dead, and I’m guessing that’s where Weir and he met and concocted this piece. Happy to be corrected on that by anyone who knows better. Andersen and Weir share the lyric credit, and the music is credited to Weir. Once it appeared in the rotation, in September 1973, it stayed in the repertoire only as long as the Prelude did, dropping entirely in October 1974.

The song addresses the seasons, and their changing mirrors the the singer’s state of mind as he reflects on the coming of love, and maybe its going, too: a circle of seasons, and the blooming and fading of roses. I particularly like the line “And seasons will end in tumbled rhyme and little change, the wind and rain.” There’s something very hopeful buried in the song’s melancholy. Is that melancholy just a projection of mine? I think there’s something about Weir’s singing that gets at that emotion. Loss, and the hope that there might be new love.

Weather Report Suite, Part 2 (“Let It Grow”) is a very different beast. It remained steadily in the rotation for the next 21 years after its debut, and the band played it 276 times. Its season of rarity was 1979, when it was played only three times, but otherwise, it was not far from the rotation. It could be stretched into a lengthy jamming tune (clocking at over 15 minutes several times), building to a thundering crescendo. And the “Weather Report” aspect of the song is what was really the most fun many times.

Released on Wake of The Flood in 1973.

WRS Prelude and Part I:

Played: 46 times

First: September 8, 1973 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USA

Last: October 18, 1974 at Winterland Arena, San Francisco, CA, USA

SHOW No. 3: Mississippi Half Step Uptown Toodeloo (Second Set Opener/into Big River/Dark Star)

Track #17

3:17 – 4:55

Released on Wake of the Flood in 1973.

Mississippi Half-Step Uptown Toodeloo was first performed live by the Grateful Dead on July 16, 1972. It was a frequent part of the repertoire through to 1974. From 1976 onward it was played less frequently with usually between 5 and 15 performances each year. It was not played at all in 1983 and 1984. The last performance was in July 1995. In total it was performed around 236 times. The majority of performances from 1978 onward were as the opening song of a show.

Huner/Garcia special. Great story. Great lyrics: “what’s the point of calling shots, this cue ain’t straight in line. Cue ball is made of Styrofoam and no one’s got the time”

Always one of my favorite songs to hear in concert. ½ Step>Franklin’s were especially fun as a one two show opener punch.

Played: 236 times

First: July 16, 1972 at Dillon Stadium, Hartford, CT, USA

Last: July 6, 1995 at the Riverport Amphitheatre in Maryland Heights (St. Louis), MO

MJ NEWS:

INTRO MUSIC: Willin’

Little Feat

Little Feat - Willin' sung by Lowell George Live 1977. HQ Video.

0:10 – 1:32

1977

"Willin'" is a song written by American musician Lowell George, and first recorded with his group Little Feat on their 1971 debut album. The song has since been performed by a variety of artists. George wrote the song while he was a member of the Mothers of Invention. When George sang an early version of the song for bandleader Frank Zappa, Zappa suggested that the guitarist form his own band rather than continue under Zappa's tutelage.[1] He did just that, and the song was subsequently recorded by Lowell's band Little Feat. The song was included on Little Feat's 1971 self-titled debut album. The band re-recorded the song at a slower tempo to much greater success on their 1972 Sailin' Shoes album. A live version recorded in 1977 appears on their 1978 album Waiting for Columbus.

The lyrics are from the point of view of a truck driver who has driven from Tucson to Tucumcari (NM), Tehachapi (CA) to Tonopah (AZ)" and "smuggled some smokes and folks from Mexico"; the song has become a trucker anthem. And of course, he asks for “weed, whites (speed) and wine” to get him through his drive.

1. Using Marijuana Is Tied To Lower Consumption Of Alcohol, Opioids And Other Drugs, New Study Reveals

2. Why Florida’s Marijuana Legalization Ballot Initiative Failed Despite Trump Endorsement, Historic Funding And Majority Voter Support

3. Marijuana Has ‘Great Deal Of Potential’ To Treat Opioid Use Disorder, Study Finds, Predicting It’ll Become More Common In Treatment

4. Colorado Springs Voters Approve Two Contradictory Marijuana Ballot Measures To Both Allow And Ban Recreational Sales

Strains of the week:

Sub Zero - Sub Zero is a potent Indica-dominant hybrid cannabis strain that combines the robust genetics of Afghan, Colombian, and Mexican origins. This marijuana strain offers a complex flavor profile with notes of apple, menthol, chestnut, lime, and berry, providing a unique and refreshing sensory experience.

The aroma of Sub Zero is as intriguing as its flavor, characterized by a rich combination of woody, earthy, and citrus notes, thanks to a terpene profile rich in Humulene, Limonene, Linalool, and Carene. These terpenes not only enhance the flavor but also contribute to the strain’s therapeutic properties.

Apple Fritter - Apple Fritter, also known as “Apple Fritters,” is a rare evenly balanced hybrid strain (50% indica/50% sativa) created through crossing the classic Sour Apple X Animal Cookies strains. Best known for making the High Times' 2016 “World's Strongest Strains” List, this baby brings on a hard-hitting high and super delicious flavor that will have you begging for more after just one taste.

Extract:

Dulce Limon – hyrbrid sativa dominant

Pineapple Fizz – slightly indica dominant hybrid strain

SHOW No. 4: Dark Star (Mind Left Body Jam)

Track #18

34:45 – end

This is the name given to a 4-chord sequence played as a jam by the Grateful Dead. It is thought by some to be related to the Paul Kantner song "Your Mind Has Left Your Body." The title "Mind Left Body Jam" was originally used by DeadBase. The first Grateful Dead CD to include a version was "Dozin' At The Knick", where the title was "Mud Love Buddy Jam" in a humorous reference to the DeadBase/taper title. But subsequent releases have adopted the "Mind Left Body Jam" title.
Here, it comes out of a 36 minute Dark Star that many say is one of the best ever and links it to an excellent Eyes of the World.
Fun to feature one of the band’s thematic jams every now and then. The truly improvisational side of the Dead and their live performances.

Played: 9 times

First: October 19, 1973 at Jim Norick Arena, Oklahoma City, OK, USA

Last: March 24, 1990 at Knickerbocker Arena, Albany, NY, USA

INTO

Eyes of the World (into China Doll/Sugar Mag as second set closer)

Track #19

0:00 – 2:25

David Dodd: “Eyes of the World” is a Robert Hunter lyric set by Jerry Garcia. It appeared in concert for the first time in that same show on February 9, 1973, at the Maples Pavilion at Stanford University, along with “They Love Each Other,” “China Doll,” “Here Comes Sunshine,” “Loose Lucy,” “Row Jimmy,” and “Wave That Flag.” Its final performance by the Dead was on July 6, 1995, at Riverport Amphitheatre, in Maryland Heights, Missouri, when it opened the second set, and led into “Unbroken Chain.” It was performed 381 times, with 49 of those performances occurring in 1973. It was released on “Wake of the Flood” in November, 1973.

(I have begun to notice something I never saw before in the song statistics in Deadbase—the 49 performances in 1973 made me look twice at the song-by-song table of performances broken out by year in DeadBase X, which clearly shows the pattern of new songs being played in heavy rotation when they are first broken out, and then either falling away entirely, or settling into a more steady, less frequent pattern as the years go by. Makes absolute sense!)

Sometimes criticized, lyrically, as being a bit too hippy-dippy for its own good, “Eyes of the World” might be heard as conveying a message of hope, viewing human consciousness as having value for the planet as a whole. There are echoes in the song of a wide range of literary and musical influences, from Blaise Pascal to (perhaps) Ken Kesey; from talk of a redeemer to the title of the song itself.

In an interview, Hunter made an interesting statement about the “songs of our own,” which appear twice in “Eyes of the World.” He said that he thinks it’s possible each of us may have some tune, or song, that we hum or sing to ourselves, nothing particularly amazing or fine, necessarily, that is our own song. Our song.

The song leaves plenty of room for our own interpretation of certain lines and sections. The verse about the redeemer fading away, being followed by a clay-laden wagon. The myriad of images of birds, beeches, flowers, seeds, horses....

One of my all time favorite songs, Dead or otherwise. A perfect jam tune. Great lyrics, fun sing along chorus and some of the finest music you will ever hear between the verses. First really fell for it while at a small show one night my junior year at Michigan in the Michigan Union, a Cleveland based dead cover band call Oroboros. We were all dancing and this tune just seemed to go on forever, it might have been whatever we were on at the time, but regardless, this tune really caught my attention. I then did the standard Dead dive to find as many versions of the song as I could on the limited live Dead releases at that time and via show tapes.

Often followed Estimated Prophet in the first part of the second set, china/rider/estimated/eyes or scarlet/fire/estimated/eyes and sometimes even Help/Slip/Frank/Estimated/Eyes. Regardless of where it appeared, hearing the opening notes was magical because you knew that for the next 10 – 12 minutes Jerry had you in the palm of his hand.

This is just a great version, coming out of the Dark Star/Mind Left Body Jam and then continuing on into China Doll (two great Jerry tunes in a row!) and a standout Sugar Mag to close out the second set. Any ’73 Eyes will leave you in awe and this one is one of the best.

Played: 382 times

First: February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USA

Last: July 6, 1995 at Riverport Amphitheatre, Maryland Heights (St. Louis), MO

OUTRO: And We Bid You Goodnight (encore out of Uncle John’s Band/Johnny B. Goode) 3 song encore!!

Track #25

:40 – 3:03

The Grateful Dead performed the song a number of times in the 1968-1970 and 1989-1990 periods but infrequently during the rest of their performing career. On Grateful Dead recordings the title used is either And We Bid You Goodnight or We Bid You Goodnight.

The Grateful Dead version of this traditional 'lowering down' funeral song originates from a recording by Joseph Spence and the Pindar Family which was released in 1965. The title used on that recording, as on many others, is I Bid You Good Night. This song appears to share a common ancestry with the song Sleep On Beloved from North East England.

I got to see it the first night at Alpine Valley in 1989 (the Dead’s last year at Alpine) and it really caught the crowd off guard. Great reaction from the Deadheads. Kind of a chills down your spine thing. I was with One armed Lary and Alex, both had been with us at Deer Creek right before. Lary stayed for all three nights but Alex had to take off after the first show. Great times.

Played: 69 times

First: January 26, 1968 at Eagles Auditorium, Seattle, WA, USA

Last: September 26, 1991 at Boston Garden, Boston, MA, USA

Thank you for listening. Join us again next week for more music news, marijuana news and another featured Grateful Dead show.

Have a great week, have fun, be safe and as always, enjoy your cannabis responsibly.

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Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show

Larry Mishkin - https://podconx.com/guests/larry-mishkin

Rob Hunt - https://podconx.com/guests/rob-hunt

Jay Blakesberg - https://podconx.com/guests/jay-blakesberg

Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/

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276 episodes

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Winterland Arena, 51 years ago, second set highlights: Mississippi Half-Step and Beyond

Deadhead Cannabis Show

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Music News: Pink Floyd and Joni Mitchell

Chapters

00:00 Post-Election Reflections: Music and Cannabis

08:29 The Grateful Dead's Musical Legacy

14:48 Exploring the Lyrics: To Lay Me Down

21:59 Music News: Pink Floyd and Joni Mitchell

37:06 Weather Report Suite: A Musical Journey

43:10 Second Set Highlights: Mississippi Half-Step and Beyond

49:36 Marijuana Research: Substitution Effects

51:24 Cannabis Use Among Young Adults

56:13 Florida's Marijuana Legalization Initiative

01:05:01 Cannabis as a Tool for Opioid Harm Reduction

01:11:10 Strains of the Week and Cannabis Culture

Larry's Notes:

Grateful Dead

November 11, 1973 (51 years ago)

Winterland Arena

San Francisco, CA

Grateful Dead Live at Winterland Arena on 1973-11-11 : Free Borrow & Streaming : Internet Archive

Happy Veteran’s Day

INTRO: Promised Land (show opener into Bertha/Greatest Story/Sugaree/Black Throated Wind)

Track #1

0 – 2:10

This version really rocks out. I especially love Keith’s piano which is featured prominently in this clip.

Played: 430 times

First: May 28, 1971 at Winterland Arena, San Francisco, CA, USA

Last: July 9, 1995 at Soldier Field, Chicago, IL, USA

SHOW No. 1: To Lay Me Down (out of Black Throated Wind/into El Paso/Ramble On Rose/Me and Bobby McGee

Track #6

2:21 – 4:20

Well, first—wouldn’t we all like to have a day like that!

And, second—what unites these three lyrics, aside from the fact that they were all written on the same day?

Hunter wrote, in his foreword to The Complete Annotated Grateful Dead Lyrics:

This version is really great to listen to. Jerry’s voice is still so young and strong. And the group singing works really well. Jerry’s also kills it with his lead guitar jamming.

Released on “Garcia” in 1972

Played: 64 times

First: July 30, 1970 at The Matrix, San Francisco, CA, USA

Last: June 28, 1992 at Deer Creek Music Center, Noblesville, IN, USA

MUSIC NEWS:

Music Intro: Brain Damage

Pink Floyd

Pink Floyd - Brain Damage (2023 Remaster)

0:00 – 1:47

The uncredited manic laughter is that of Pink Floyd's then-road manager, Peter Watts.

David Gilmour Addresses Synchronicity Theory Between ‘The Dark Side of the Moon’ and ‘Wizard of Oz’

Fallon asked if Gilmour had ever tested the theory, to which he exclaimed, “Yeah!” He went on to admit, “And there are these strange coincidences–I’ll call them coincidences.”

Joni Mitchell turns 81 - Joni Mitchell was born on Nov. 7th in 1943, making her 81 this past Thursday. Mitchell began her career in small nightclubs in Saskatoon, Saskatchewan, Canada, and grew to become one of the most influential singer-songwriters in modern music history. Rising to fame during the 1960s, Mitchell became a key narrator in the folk music movement, alongside others like Bob Dylan. Over the decades, she has released 19 studio albums, including the seminal “Blue,” which was rated the third best album ever made in Rolling Stone's 2020 list of the "500 Greatest Albums of All Time.” In 2023, Joni Mitchell at Newport was released, a live album of her 2022 performance at the Newport Folk Festival. More recently she was the featured performer at the Joni Jam at the Gorge in George, WA in June, 2023

3. Dan “Lebo” Lebowitz to Celebrate 50th Birthday at Sweetwater Music Hall with Members of ALO, Tea Leaf Green and More

SHOW No. 2: Weather Report Suite Prelude (out of China >Rider/Me & My Uncle/Loose Lucy

Track #14

3:10 – end

INTO

Weather Report Suite Part I (out of WRS Prelude/ into WRS Part II (Let It Grow)/Set break - 16 songs

Track #15

0:00 – 1:03

Released on Wake of The Flood in 1973.

WRS Prelude and Part I:

Played: 46 times

First: September 8, 1973 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USA

Last: October 18, 1974 at Winterland Arena, San Francisco, CA, USA

SHOW No. 3: Mississippi Half Step Uptown Toodeloo (Second Set Opener/into Big River/Dark Star)

Track #17

3:17 – 4:55

Released on Wake of the Flood in 1973.

Huner/Garcia special. Great story. Great lyrics: “what’s the point of calling shots, this cue ain’t straight in line. Cue ball is made of Styrofoam and no one’s got the time”

Always one of my favorite songs to hear in concert. ½ Step>Franklin’s were especially fun as a one two show opener punch.

Played: 236 times

First: July 16, 1972 at Dillon Stadium, Hartford, CT, USA

Last: July 6, 1995 at the Riverport Amphitheatre in Maryland Heights (St. Louis), MO

MJ NEWS:

INTRO MUSIC: Willin’

Little Feat

Little Feat - Willin' sung by Lowell George Live 1977. HQ Video.

0:10 – 1:32

1977

1. Using Marijuana Is Tied To Lower Consumption Of Alcohol, Opioids And Other Drugs, New Study Reveals

2. Why Florida’s Marijuana Legalization Ballot Initiative Failed Despite Trump Endorsement, Historic Funding And Majority Voter Support

3. Marijuana Has ‘Great Deal Of Potential’ To Treat Opioid Use Disorder, Study Finds, Predicting It’ll Become More Common In Treatment

4. Colorado Springs Voters Approve Two Contradictory Marijuana Ballot Measures To Both Allow And Ban Recreational Sales

Strains of the week:

Sub Zero - Sub Zero is a potent Indica-dominant hybrid cannabis strain that combines the robust genetics of Afghan, Colombian, and Mexican origins. This marijuana strain offers a complex flavor profile with notes of apple, menthol, chestnut, lime, and berry, providing a unique and refreshing sensory experience.

Apple Fritter - Apple Fritter, also known as “Apple Fritters,” is a rare evenly balanced hybrid strain (50% indica/50% sativa) created through crossing the classic Sour Apple X Animal Cookies strains. Best known for making the High Times' 2016 “World's Strongest Strains” List, this baby brings on a hard-hitting high and super delicious flavor that will have you begging for more after just one taste.

Extract:

Dulce Limon – hyrbrid sativa dominant

Pineapple Fizz – slightly indica dominant hybrid strain

SHOW No. 4: Dark Star (Mind Left Body Jam)

Track #18

34:45 – end

This is the name given to a 4-chord sequence played as a jam by the Grateful Dead. It is thought by some to be related to the Paul Kantner song "Your Mind Has Left Your Body." The title "Mind Left Body Jam" was originally used by DeadBase. The first Grateful Dead CD to include a version was "Dozin' At The Knick", where the title was "Mud Love Buddy Jam" in a humorous reference to the DeadBase/taper title. But subsequent releases have adopted the "Mind Left Body Jam" title.
Here, it comes out of a 36 minute Dark Star that many say is one of the best ever and links it to an excellent Eyes of the World.
Fun to feature one of the band’s thematic jams every now and then. The truly improvisational side of the Dead and their live performances.

Played: 9 times

First: October 19, 1973 at Jim Norick Arena, Oklahoma City, OK, USA

Last: March 24, 1990 at Knickerbocker Arena, Albany, NY, USA

INTO

Eyes of the World (into China Doll/Sugar Mag as second set closer)

Track #19

0:00 – 2:25

Played: 382 times

First: February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USA

Last: July 6, 1995 at Riverport Amphitheatre, Maryland Heights (St. Louis), MO

OUTRO: And We Bid You Goodnight (encore out of Uncle John’s Band/Johnny B. Goode) 3 song encore!!

Track #25

:40 – 3:03

Played: 69 times

First: January 26, 1968 at Eagles Auditorium, Seattle, WA, USA

Last: September 26, 1991 at Boston Garden, Boston, MA, USA

Thank you for listening. Join us again next week for more music news, marijuana news and another featured Grateful Dead show.

Have a great week, have fun, be safe and as always, enjoy your cannabis responsibly.

.Produced by PodConx

Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show

Larry Mishkin - https://podconx.com/guests/larry-mishkin

Rob Hunt - https://podconx.com/guests/rob-hunt

Jay Blakesberg - https://podconx.com/guests/jay-blakesberg

Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/

Recorded on Squadcast

276 episodes

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Winterland Arena, 51 years ago, second set highlights: Mississippi Half-Step and Beyond

3. Dan “Lebo” Lebowitz to Celebrate 50th Birthday at Sweetwater Music Hall with Members of ALO, Tea Leaf Green and More

1. Using Marijuana Is Tied To Lower Consumption Of Alcohol, Opioids And Other Drugs, New Study Reveals

2. Why Florida’s Marijuana Legalization Ballot Initiative Failed Despite Trump Endorsement, Historic Funding And Majority Voter Support

3. Marijuana Has ‘Great Deal Of Potential’ To Treat Opioid Use Disorder, Study Finds, Predicting It’ll Become More Common In Treatment

4. Colorado Springs Voters Approve Two Contradictory Marijuana Ballot Measures To Both Allow And Ban Recreational Sales

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Winterland Arena, 51 years ago, second set highlights: Mississippi Half-Step and Beyond